John Robles: harp, vocals, jarana primera, requinto jarocho
Jorge Mijangos: jarana segunda, larana primera, chaquiste, vocals, cajón, hand percussion

Produced by Jorge Mijangos and John Robles
Recorded by Bruce Capps at Seven South Studios, Santa Barbara, CA
Mixed by Bruce Capps and Jorge Mijangos at Seven South Studios, Santa Barbara, CA
Mastered by Jay Frigoletto, Mastersuite, Hollywood, CA
Graphic Design: Katey O'Neill
Photography: Kimberly Kavish and Mark R. Collins
Liner Notes: Timothy Harding, Ph.D.
Special thanks to Charles Woodburn, Steve Powell, and Gary Johnson

Harps constructed by Mario Barradas Murcia
Jaranas constructed by Jorge Mijangos
Cajón constructed at Fat Congas, Santa Barbara, CA

All arrangements © El Son Del Pueblo 2002
All songs traditional/public domain except "El Aguacaro" and "El Chuchumbe" by Gilberto Gutierrez
Contact: info@elsondelpueblo.com
www.elsondelpueblo.com

Son Jarocho Son: Literally a sound that is agreeable to the ear, it is a Mexican regional song/dance style usually in 6/8 rhythm. Jarocho: Applied to the people and music of Veracruz, the term meant "irreverent," but the Veracruzanos have turned it into an assertion of pride.      Son jarocho is a vibrant, regional folk music and dance style from the state of Veracruz, on Mexico's eastern coast. Thriving on improvisation, humor and spontaneity, the son jarocho, with its bright melodies, witty lyrics and vigorous heel dancing (zapateado) is experiencing resurgence in modern Mexico and beyond.      One of Mexico's richest artistic expressions, son jarocho traces its roots to African, Spanish and indigenous cultural influences. Spanish origins dating from the 17th and 18th centuries included dances such as the fandango, song styles such as the tonada, and the tonadilla escenica, a theatrical musical style. Southern Spanish elements include the harmonic structure, verse forms, the staccato heel dance style and the stringed instruments.      African influences are evident in the syncopated rhythmic patterns of the son jarocho. African styles were brought to Latin America with slaves as well as from Spain itself (North Africans controlled Muslim Iberia before the Christian re-conquest created the Spanish nation), and many contemporary jarocho musicians are African-Mexicans, Evidence of African singing characteristics includes choral and individual call and response to a lead singer, slurring or bending of the notes and a sarcastic or irreverent attitude.      While Indian influence is more difficult to identify, one characteristic is the frequent choice of animals as lyrical themes, Priorto the Spanish arrival, animals symbolized deities and divine forces in indigenous religions, Son jarocho lyrics depict the iguana, the hawk, the woodpecker, etc., and give these animals human characteristics.      The traditional instruments used in son jarocho include the harp, jarana and requinto jarocho, occasionally accompanied by the quijada (donkey jaw), pandero (wood frame tambourine), and violin. The diatonic jarocho harp is an adaptation of the European harp of the Colonial period. Its performance style is considered the most complex and evolved in Mexico. While the right hand introduces bright, energetic arpeggios and melodies, the left hand plays a bass pattern of syncopated octaves and single notes.      A direct descendant of the baroque guitar, the jarana's complex strumming techniques provide the rhythmic framework of the son jarocho. Jaranas come in varying sizes and typically have eight strings (three pairs flanked by two singles). Although the particular instruments used in a confunto jarocho may vary, jartmas provide the basic chord sequence (compás) and are always present. Similar in form, but having only four strings, the requinto jarocho, also called guitarra do son, is plucked with a long cow horn pick to improvise bold and percussive melody lines. -Timothy Harding